Brooklyn, NY – Hasidic Singer Shlomie Daskal New CD Review

Brooklyn, NY – CD was produced by Yochi Briskman and the Neginah crew (Although someone noted to me that it’s the usual Gal Kol crew like Singolda, Volnitz, Avidani, Amit Harel, Rigler, and Gadi Seri).

To its great merit, this CD is a true exception in Jewish Music with an excellent choice of songs. Every single song has the potential to be loved and sung over and over at weddings, Kumzitses and in your car. I’m not saying this to make anybody feel good – it’s the truth. (My ratings, too will be based on the songs unless the production spoils the song)

The backup vocals were done by Moshe Roth. Who also recently worked with Lipa and Boruch Levine. Nachman Zeltzer did the boys choir. Pretty good Job both of you.

You will note that all arrangements are noticeably old school with almost no guitars, bass, electronics, or synths. The music is very traditional Briskman-Neginah. I guess Yochi grew up with these guys and everyone has to eat – instead of subbing it all out to Ilya Leshinski…

(I’m told that a lot of rhythm guitar went into this production, as much as 6 tracks on some songs. Sadly I can’t hear it for the life of me. Can you? Is there a mix/ sound issue? Mix was done mostly by Jeff Horovich in Israel and touched up here by Baba and Yochi)

The general style and direction, too, is very traditional and laid-back. There are no instrumental lines to speak of. The singing, both the artist’s and of the choir, is very reserved and plain. Nothing fresh or exciting.

Listen to a preview of the CD

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Here we go:

Poseach – the title song by Yitzy Waldner. With a guitar-drum-brass intro we’re all used to from Shwekey’s CDs which are all produced by Yochi, too.

This is a powerful horn-filled arrangement, but if you listen very well you can hear some nice guitar lines (melody twangs, not chords) and Saxes but the guy playing with the faders emphasized the trumpets.

The higher part is a pattern that has been abused in JM lately. With MBD’s Nodeh Lecho and the Kinderlech’s Moshiach

Daskal’s voice on this song is very good

*** (out of 5)

An’im Zemiros – a beautiful, classy intro, with Sax-Piano and Strings-Piano.

This is one exceptional song full of meaning and feeling.

Mid song you have a beautiful choir piece with some great harmonica. I thought it was Ruby Harris, but it’s actually Sergei Gurbell.

The boys choir towards the end is very nice.

****

Ani Ohev – a song from Israel Star Adi Ran. The song didn’t really do it for me even after a few times, but some people are bananas over it.

The lyrics by everyone’s beloved Lipa are maybe too short, and the tempo of the song makes it sound even shorter. I would’ve loved for it to be something more extended and exciting, like Lipa’s own Shelo Asani Goy.

Btw, this is one song I can’t wait to hear Lipa jam away at a wedding

The arrangement by Mona is also one big piece of brass. The backup vocals are predictable and stupid.

***

Hashabbos – an instant favorite, another beautiful creation by Moshe Wertzberger, who also composed Shwekey’s Meshoich.

The song starts on a low note with soft piano, until 1:07 when it suddenly becomes very loud with drums, strings and a (pretty good but) overwhelming adult choir. The second time the song is repeated it’s much better. The child solo is pretty good.

The high part is excellent. Daskal’s voice is A+ with strings and Saxes. Here it’s not so loud. (Doesn’t 6:41 remind you of Avraham Fried?)

**** ½

Harachamon –another song by Moshe Wertzberger who made a song to the same words for Shwekey’s last album. The beautiful intro is shamelessly stolen from Sruly Ginsberg’s (Aneini) song Be’Fi Chulonu

The song is very smooth and Daskal shines. The high part has an interesting ending which I’m too novice to explain.

I love the drums and the choir is finally doing something. We have a little guitar too but again no chords. Just melody lines.

****

Elokai – a great soundtrack-style non-kvetchy slow song composed by Yitzy Waldner and arranged by Moshe Laufer. (For a treat, please Google ‘Arrival to Earth’)

We begin with strings and pads. Daskal begins so beautifully and softly and the child solo is great.

Then, at ‘Modeh Ani’, starts screaming. Daskal has such a smooth, creamy voice that I can’t understand how his people would let him scream away like this. When he goes too high his clarity goes out the window. Compare that to Shwekey’s clear high pitches on songs like Meshoich.

***

Tono Devei – A great song, a hora with hit-potential.

The arrangement is the usual Briskman of a thousand horns, hard drums, and a tiny little guitar.

The horn lines are very bland and predictable – you might want to revisit Lipa’s Shelo Asani Goy and Yossi Greens Leyhudim and Lama. (8th Note)

The choir is very good.

***

Slach – perhaps the best slow song on the album and possibly the runner-up to Vezakeini. Seems like composer Baruch Levine isn’t slowing down. It’s so clean and so neat, so Yom Kippurish.

You have to give Daskal credit for starting the song on a low note, calmly, with strings and piano but I think his high part is too high- almost screechy. A lower pitch would even fit the context of the words better. Eh?

(A friend of mine who loves, and understands music told me “Beautiful songs, but he’s too high throughout the CD!”)

But again – this is one mega-hit. And the choir really does well

*****

Baba – a dance song without words. Very fashionable nowadays in JM.

The 3-part song impresses with its cleanliness and simplicity, although some stronger electronics would’ve given the song more energy.

The arrangements, by Yochi and Yankey, are a mix of percussion (a little drums too) guitars and electronic pads with a great choir. I would’ve loved to be a few Flute or Sax lines. But still it’s very nice!

This is the only song where Daskal really lets go and sings with energy. But his echo effect is a bit too much – I think.

One of the people involved in the CD told me with pride, that in an era of so many songs like this, i.e. Niggun Neshmama (Carlebach) Nigunn Nevo (Shlomo Katz) Lazers Niggun (EG and Dovid Stein) Baba and Shlomie proved there is still room for another one.

Indeed!

****

I’m still your son. A highly anticipated song promoted by a (very bad) music video.

The message of the song is very powerful: Even when a child and parents don’t see eye-to-eye, they still both have a responsibility to work out their differences like people do. Sending a kid packing out of the house, (or, on the other hand, hurting your parents just to make a point) – is very wrong. Try to work it out.

[In a recent high profile story of a boy who fell out of the system it is very obvious and encouraging that the boy is respectful of his parents (& siblings) and worked out his issues together with them. His parents too are as accommodating as possible and he was never shown the door. They supported him publicly too.
It is my hope that one day this wonderful, talented man will return. Wether it happens or not, at least his parents can say that they did there job 100%]

The lyrics are impotent. “The words that he writes for explaining the song is better than the lyrics” said a friend of mine.

Also, I believe that for the theme, the arrangement and the boys choir are way too festive. The melody is top of the line, and a simple arrangement (as in Mendy Hershkowitz’s arrangements to Lipa’s Poshiter Yid song) would suffice.

The song does not leave you thinking. Just confused. I hope next time they will do better.